Inundated by revolutionary and innovative daily discoveries,
an unstoppable use of technology more and more dominant, and
the relentless sickening request/offer of new Brands, we get
lost inside sightless corridors of absolute emptiness,
hardly recognizing ourselves from each other. Loneliness
and Standardization, painful diseases affecting millions of
people around the World, make our way sad, exhausting and
pointless.

The foolish project of Depersonalization of the individual
acknowledges 'Having rather than Being', enhancing
the body, suffocating the charm of Simplicity. Our body is
the enclosure that contains the Soul, Pure Energy, which at
the end of the journey will rise free in the Universe. The
Soul to which it is not dedicated enough attention and care
...

I like to think, listen, feel, watch, palpate, enjoy, love,
with my eyes and all the senses that my body has at its
disposal. There is nothing on Earth that doesn't deserve to
be loved and considered, from the smallest piece of paper,
wood, stone, twine, to everything that exists in the space
that we live sharing it with 'the All'. A fusion of
materials and colors that harmoniously will 'Shrink'
and 'Coexist' taking new shape, 'the All'
transforms and becomes Art, such as my "Box-Es"

that enclose sensations, thoughts and events of my life and
of 'the Time in which I exist'... The "Box-Es",
Installation of “Compact Art”, is the container of a
strong concept, that encloses a precise line of thought with
the fundamental principle of 'Universal Union' and
'Unique Unrepeatable Individual'. 'Unity and Oneness'
as it is declared by the main Philosophical concept behind
the 'Being'.

"Compactism"
in Art and in Society: as well as materials and colors
blend, a "Compactism" that unites People in harmony;
each with their own beliefs, color, form of Love. Without
discrimination in the Respect and the Union, letting each
one to depict, build and make its existence as an artwork
with serenity and in constant evolution. A thought that
arises and takes concrete form inside the Box, projecting
outside. "Box-Es Interactive Artistspace": a
dimension where everyone can be himself; not a fashion site
where reunite, but places scattered everywhere to gather,
share thoughts and experiences in order to strengthen more
and more the ideology formed by the need to create new
opportunities for well-being, growth, development and the
joy of living in the World, where everyone will always find
a space. A solid principle beyond self-interest, useful to
those who create and to the Society where we share our life
and creativity. A Social Principle which is developing
through the channels of Art, seen not as an end in itself or
for commercial trade. 'Art that Compacts' as a strong
thought that through the diverse spaces will reach its goal.

Performance, exchanges and debates, indoors or open air
meetings, anywhere there are people who share the concept of
life as a step towards a 'Universal Union'. A solid
Community to multiply itself in the World to do justice and
give a new value, larger and raised to our existence, which
is developed through a search for the 'Meaning of Things',
with the understanding that no response to an unlimited
number of questions would ever be the absolute truth.

When you consider Tinamaria Marongiu’s compositions, boxed in
Plexiglas transparent walls, you feel the artist invites you to watch beyond
the usual window of art, as to encourage you to draw from a universe
of forms which spring –artistically speaking – from the reality
surrounding us. From the
common, cast
off universe of things, from the remains of worn out matter, from a
lump of dust and uselessness, from scattered objects with a toxic,
corrosive function, or even from elements which have the function of
stirring or treating, e.g. pharmaceutical pills, with their rounded
shapes of hardened, many-coloured paste.Matter combined with colour
and assembled objects glued to an image surface make up the tools
which - despite being precarious and destitute - do not shun
arrangement, to become the nucleus of form. Although hidden, forms sooner or
later settle
and lean to composition. Usually when an artist uses a plain syntax,
when shapelessness is pursued, a composition result, despite being
denied, is to be expected. Tinamaria’s finished work bears the marks of an
event - of an
itinerary of gathering and handling, of choosing and arranging to
chase an accidental event.Every element is sealed in a bubble of
provisional, warped precariousness. Finished yet not exhausted. Man
has an all-embracing relation with life. Hence the definition the
artist gave of her transparent cases, box-Es, static representations
of be-ing in constant be-coming. The work, as it were, is a factual
event, and in it every mixture of colour and matter, every
projection of forms and objects shows through, coagulates in a
composition. It has been
found - or has
surfaced - as the result of a game of fancy, as well as from
intimate drives the artist pursues and captures. By means of a strong formal abstraction, Tinamaria
solicits fantasies and drives, and delivers them in a changeable and accumulating
composition perspective. Much of her way of producing through
abstraction, yet giving the concreteness of an image, matches the
visual sense of natural landscape, vast and all-embracing. Nature, as it were, works as a
tissue of vision, of perceptual correspondence and prehensile grip
to the things it collects and arranges. Although abstraction transfigures
them, her works
are the result of what the artist sees and goes through. The photographic clicks, the vision
sequences over landscapes and horizons, on marinas and
territories the artist offers together with her works in Plexiglas
cases, give us the plot and the imaginative perspective of her
composition method. Obviously the things we see around us, together
with light and space, assume diverse forms and relations through the
mind’s eye, through the handling of materials and colours. The
incidents of life, like natural things, are a lavish gift in their
overlapping and tangling with imagination patterns, and with one’s
own stylistic habits. The startling discovery of the forms of art is
the primary energy which encompasses and roots us in the
world.Coherently with the assignment of her works to the becoming of
things, Tinamaria does not give them a title, nor does she give them
a context of sense, a caption or an appellation. Because of their being imagination
events, sealed
in their box-Es, they always belong to a past moment which would
occur again and again. They are identified by a progressive number,
starting from a thousand, maybe hinting at finished, filed events.
However, the missing title does not impeach communication. The works acquire and convey an image
impression, exploiting sometimes the game of bright materials, or
irony, or a melancholy sense of degradation and decay of the social
world. When you see them in their context of suggestions and
references, symbols and metaphors, Tinamaria’s works seem to tell us
that her works – like the things of life – do not need a title to be
identified and understood.It has been a long time since artists
started using abstract forms, dismissed materials and objects,
aiming at mirroring states of mind, besides social realities. But in
her expressive spectrum, Tinamaria merges plastic forms and
photography with music and her singing voice – even with the lyrics
of her own songs. It would not be difficult to perceive in these
expressive modalities and skills something which tangles and ripens in her heart. Something
melancholy and
transfiguring which imbues her life and art. Truly a rhythm, not only musical, is ingrained
in a composition key, and produces an imaginative style: the more it
contaminates with the reality of life, the more it is enriched with
creative opportunities.

Tinamaria Marongiu, is a particular Artist, the "voice of
feelings," a soul that lives and transmits impulses and
sensations "unique" in its genre. Her way of thinking about
art education is outside of all patterns of conventional art
...

TINAMARIA MARONGIU:The award-winning artist Tinamaria Marongiuwas born in Cagliari (Sardinia) in 1961.She
works and resides in her native Italy.She began her artistic career as a trained singer and
musician, receiving early success with her LP “Contremano”
distributed by Virgin Records in Germany. Like singer
songwriter, in 2005, her original song “Motherland” won
critic’s choice at “The Italians in the World” competition
held in Paris, and in 2007, her first full length CD “From
Poetto to Malecon” was released under Interbeat Records and
distributed throughout Europe by CNI. But Tinamaria did not
limit herself to music. Her "Curious" nature and
her will to search other expressive artistic avenues lead
her to expand her creativive skills to different forms of
art to include songs, poetry and photography up to land to
Contemporary Art.

Gaining her Masters in Art-Counseling, Tinamaria, began
expressing herself with various artistic techniques, which
opened new frontiers for her abilities and brought her to
today's position of a Multimedia Artist.

Her fine art is exhibited internationally in Countries
including Italy, France, Spain and the United States, with
shows throughout Miami and New York City.

Tinamaria began showing her art works "Box-es"
in Italy and alla round the World in 2009 .

Box-Es: are works on wood, sealed in Plexiglas and Forex
cases, which you can hang on a wall or place on a support.

The artist uses various materials, both organ- ic and
inorganic, combining them with colours.

Two constant elements characterize the Box-Es:

the box, which, as in a photograph imprints, through the
creative act, a personal representation of a fragment of the
world, or a thought, gazing intently at a Social-Historical
life.

The other constant is characterized by the "pill and
everything that care" besides various elements used in
treatment, like a symbol of psychophysical and existential
ease and/or dis-ease of the Humanity and of the World.

2013 -'' Compact Art"After years of research and experimentation Tinamaria
Marongiu coined the term "Compact" in Contemporary
Art, with with the intention to give a specific
classification to her "Box-Es" made ​​with materials
disparate and hard cheeses cast to the color. Tinamaria's
work is composed of matter and thoughts that blend and
become compact, representing...Matter and thought that
blend, compact, representing fragments of a personal vision
of our world and moments of Social life.

Tinamaria Marongiu… a Social Ideal in her Thought

COMPACT: harmonious, united, unanimous compact group,
compactness

---"COMPACTNESS"
as for "UNIVERSAL UNION" .... leading to the
construction...which way "Universal Union" leading to the
construction of the new, the right, in respect of humanity
and of our Universe that so abused, goes in and destroys.
Voices of people traveling through thebouncing virtual network, between images and phrases of
discontent and dispute, around the globe. Ideal of life for a “COMPACT HUMANITY” TM

among others …WRITE ABOUT HER ...

GIANCARLO DA LIO - 2010

The great venetian architect Carlo Scarpa encouraged his
students to consider and understand the great importance of
the materials used to achieve the desired result. A great
lesson in an age where we tend to emphasize the ephemeral
tends to be too often forgotten. The same wisdom and love
for the quality of materials they find in the works of
Tinamaria Marongiu. A knowledge accompanied by a taste for
the investigation of Contemporary human crises represented
by the pads, the symbol of the psychological well-being. It
leads to remember how Carlo Mauri on his journey in the
footsteps of Marco Polo tells how some people kept
antibiotic tablets in their hands thinking they were
talismans. Simple interpretation that can bring a smile. But
the evolved human behavior is not dissimilar.We swallow a bitter reality, being often non-compliant with
doses and times, always hoping for a miraculous effect.Aiming
always miraculous effect. The route of the "magic pill" it
makes us feel safer. And so pills designed in shape, color
to make them attractive as confetti. But not always able to
satisfy our desires. This then is completely defined by the
plexiglas container. A container that is used to control the
desire expressed by relaxing colors such as blue, green
water, but also the dream as a measure of positivity. One
can not dream. The dream is life itself. Perhaps the work
becomes the threshold between being and receiving. A threshold unstable, swinging between heaven and hell. And often the
small, insignificant, attractive pill is its threshold.
The ephemeral life leads to excessive consumption.
Excessive, continuous ... disruptive. So the title of his
work brings us back to the magical world of boxes, which can
swallow, preserve or protect our memories. Tools made
available to our being that is not always able to think in
terms of balance.

Tinamaria Marongiu titles her artistic creations “Box-Es,”
through which she ardently assembles numerous man-made and
natural materials including paper, lace, rocks and wood onto
canvases propped inside Plexiglas boxes. Historically
connected to Renaissance “Wunderkammer” (Cabinets of
Curiosity), Ms. Marongiu creates visual curiosity cabinets
out of resplendent visceral ephemera analogous to the
masterful works of Modern assemblage pioneers Joseph Cornell
and Louise Nevelson. Similar to educational vitrines at a
Natural History Museum, the “Box-Es” act as a theatrical
stages allowing childlike curiosity to fervently unfold.
These ecological and cultural topiaries recombine our
contemporary multi-media world into visually stimulating
realms, awakening pure sensational enquiry by joyfully
examining the assembled material configurations. Ms.
Marongiu arouses universal pastimes by unearthing a playful
inquiry reminiscent of childlike curiously, allowing viewers
to joyfully examine a newfound view of the surrounding world
through material appropriation in her multifaceted
assemblage “Box-Es.”

2014 –
CUDIN

The various creative experiences lived by the artist did not
lose her confidence for her research work, in fact
contributed to the creation of a way of " making art "
completely original , a mental space supported by
scaffolding of meanings. In her work are collected elements
that at first sight may seem marginal provocation , but a
careful observation her work is based on the motions of a
sentimental way to feel alive in complete dedication to pure
research in a creativity that has as its backbone her
experience and the metamorphosis of a world in constant
evolution. The composition of its box -es concepts become a
reality, which has internalized the inner substance of an
aesthetic idea that can lead to subtle cue dissertations and
shocking , but it is the materiality of our daily life that
is enclosed in transparent boxes . The material loses weight
, becomes color, light, what are the real essence of the
artist's thought , pure synergy , crystallization ,
assembled forms which can escape from rational thought ,
where everything is investigated, but for Marongiu are the
space where it is enclosed the work in an enigma free to
interpretation .

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